[D-G] tonight performances
liza_kozner at yahoo.co.uk
Sat Nov 26 19:25:45 PST 2005
if Deleuze equals, if that equals to DG when they say...
Or if you use, invent a way to move to make gestures, relate with object
the movement of analysis, implied in Spinozism, in DeleuzeGuattari Capitalism Books
i think can help to think a performance of different types, Julia's tonight or someone else's dayly performing act. the important is that there is thought, or a possibility that performance becomes more interesting if the characters become thinkers, if the performance needs to think. Judith Weston talks about this in "Directing Actors", some actors have such techniques where they need to analyse their play, some other preferto come up with hidden ressources, energies, when set in certain situations. somehow i thought this opposition by Judith Weston was interesting, because thinking can itself, analysis can itself be hidden ressource, a passage to activity in the thinking mind of the hidden ressources. So I think the director of the performance, could, or could not refer to his or her performance structuring descriptive, and help the actors, with tools. But it doesn't have to be helping saying this equals the thinking of that other thinker. its up to the character to be a thinker,
and its up to the director to place them in situation wherin they need to become thinkers. other wise there is no need to have indeed it say Deleuzian, or it equals to Deleuze when he says...
So with the grid by Burroughs idea, i think it would be best not to use the word Grid as a referent, when, hm, if the lines on which the preparation is constructed are lines where clichey, conventional, from which the performer needs to do acts that break from this standard, it would be better not to come, hm, because something like, in the chaos, these clichey are part of it, you need to have the performer focus on actions he will do, if he wants for example modify the grid, and he sees that there is something which he could do, one idea would be to have a characters, evolving with other characters, and thinking about these characters, where the issue would be finally less a show, but the interactions the relation to which human chacters can come into, and to deterritorialise the grid, imply how to have a territory, remeber the idea of territory, with its dimensions, its qualities, i think performance as you practiced it is full of ressources, but, and you have also to take into
consideration that someone can be a psycho (like me lol), and hearv voices at the same time i am hearing your explanations, so this parametrum, how to deal with the voices, need to be included in the exercices, and are the voices part of the performance, if the characters betrays them and voices them aloud.
give me then the strucutres i would be happy. malgosia can you say what you think, youre a performer aswell? bye.
To help you stay safe and secure online, we've developed the all new Yahoo! Security Centre.
More information about the Deleuze-Guattari